Contemporary Music: Theoretical and Philosophical by Max Paddison

By Max Paddison

The main issue of up to date song this day and the philosophical and theoretical questions with regards to it are the point of interest of this quantity of essays through prime overseas musicologists and philosophers.

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And, contrariwise, it shows that industry can be guided by theory, by the application of rules that stem from general principles, as in the case of synthesis techniques. Paolo Rossi writes: Mersenne and Gassendi both rejected as dogmatic Descartes’ effort to base physics on universal principles; they were much more aware than he was of the fact that ‘real physics’ is closely tied to the gentilles inventions of engineers and technicians.  Until recently, the theory of music owed its development to that of mathematical and physical acoustics.

269–322 ——, Ästhetische Theorie. Gesammelte Schriften Vol. 7 ed. Rolf Tiedemann (Frankfurt am Main: Suhrkamp Verlag, 1970). Trans. as: Aesthetic Theory, trans. with introduction by Robert Hullot-Kentor (London: Athlone Press, 1997) 22 The original colloquium of invited papers at La Monnaie, Brussels, in 2000, and the original French edition of the resulting book – Irène Deliège and Max Paddison (eds), Musique contemporaine: Perspectives théoriques et philosophiques (Sprimont: Mardaga, 2001) – have been greatly expanded for the present English edition.

Music gets its procedures, its allure, its experimental style and its unifying objectives from science. From science it takes the language of precision. The ultra-miniaturization of switching procedures, scale gains in computing speed, the ever-increasing storage capacity for data, these all provide the practice of music with new standards and norms of representation, new structural requirements and new criteria of accuracy. The technology of sound production replaces instrument making, logical machines guide thought, and programming seems to be the dominating concept of musical composition.

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